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The latest full-length from Kishi Bashi, Kantos is a work of exquisite duality: a party album about the possible end of humanity as we know it, at turns deeply unsettling and sublimely joyful. In a sonic departure from the symphonic folk of his critically lauded 2019 LP Omoiyari - a career-defining body of work born from his intensive meditation on the mass incarceration of Japanese-Americans during World War II - the Seattle-born singer/songwriter/producer's fifth studio album encompasses everything from Brazilian jazz and '70s funk to orchestral rock and city pop (a Japanese genre that peaked in the mid-'80s). Informed by an equally kaleidoscopic mix of inspirations - the cult-classic sci-fi novel series Hyperion Cantos, the writings of 18th century enlightenment philosopher Immanuel Kant, a revelatory trip to ancient ruins on the island of Crete - Kantos ultimately serves as an unbridled exaltation of the human spirit and all its wild complexities. During the earliest stages of creating songs for the album, Ishibashi's main intent was to return to his highly eclectic musical roots, in part by tapping into his jazz background and by delving into the dance-rock-leaning sensibilities he previously embraced as co-founder of Brooklyn-bred indie band Jupiter One. But not too long into the songwriting process, he stumbled upon an AI-equipped website capable of composing catchy song hooks based on a prompt - a turn of events that quickly catalyzed the existential inquiry at the heart of Kantos. Although his ruminations on AI, transhumanism, and humanity's troubled fate indelibly guided the making of Kantos, Ishibashi nonetheless views the album as "less of a warning about this kind of hubris but more a celebration of the very characteristics that make us human: desire, passion, empathy, and love." "If there's anything I want people to come away with when they hear this record, it's a feeling of excitement about the possibilities of human-created art," he says. "Even as we're learning more about all the amazing things AI can do, I think humans will always be one step ahead in terms of our creativity and innovation. There's still no limit to what we have to offer."

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

Abstrack Records is back with a new EP, putting the emphasis on instrumental music. Angers based band Auroboros, whose paths crossed on numerous time with Abstracks, largely on the occasion of infamous Freaks Pop festival, delivers twenty minutes of a progressive and cosmic, rocky jam.
«Camel» feels like a pursuit, a chase after an uncatchable vanishing point. The relentless acceleration of the tempo and the increasing power of the instruments feel like they’re leading us to an inconcei- vable paroxysm.

During the breakdown, everything strangely feels faster and calmer at the same time, we think we’re catching a glance at this horizon, even believing we’re reaching it as drums are fading away. But the ascent starts again and the trance is non negotiable. The power stream of the instrumental energies washes over the immobiles and the sceptics.

On the B side, two very different reworks complete the picture. Romain FX distills the dancefloor essence of «Camel». With a cosmic, almost oriental approach. The original piece gives birth to a proper peak-time banger, pure leg shaking material.

Mytron gives us a more playful and trippy remix. Seven minutes of a vibe that seems to be spinning and drifting, without ever breaking the patiently settled groove, filled with tribal spirit and sometimes even humour.

In 2004, California-based indie band Golden Shoulders followed up their highly acclaimed debut with their second album, Friendship Is Deep. Now, on the twentieth anniversary of its release, the album most requested by their fans for a vinyl release is finally set for one on Unspun Heroes. Described as “one of the great semi-lost albums of the 21st Century”, the album showcases singer, songwriter, and band mainstay, Adam Kline’s knack for lyrical hooks and penchant for catchy melodies. But, like friendship, this is deeper than its pop sensibilities might suggest.
 
From the moment the opening track I Will Light You On Fire opens with its simple piano refrain and vocal harmonies you know you’re listening to something worthy of further exploration. From this building of tension between its temporary aural chaos and the beauty that ultimately emerges, you’ll be hooked. Yet, scratch beneath the surface and you’ll find this is an album that carries with it a political, pro-peace, and pro-humanity message, albeit somewhat more satirical than you might expect of a band hailing from America’s West Coast. This is particularly notable on tracks such as Golden Soldiers and the Committee, where Kline’s turn of phrase and wit shines through, cleverly weaving words so they create detailed poetic mosaics. 

Golden Shoulders is a loose and ever-changing lineup of international talent, with Kline as the kingpin and sole songwriter. Given the pedigree of those whose talents grace the album – among them, Todd Roper and Greg Brown (Cake), Josh Klinghoffer (PJ Harvey, RHCP, Pearl Jam), Neal Morgan (Joanna Newsom, Fleet Foxes), and Dan Elkan (Broken Bells) – it’s no surprise the compositions and attention to detail present in each and every one of the 14 songs is top notch. It’s this pleasing mix of accomplished individuals, and their mishmash of influences, which lend a pinball effect to the set of stylistically diverse songs on Friendship Is Deep. Collectively though, the music you’ll hear has a focus, one that channels late 90’s Brendan Benson, the poppier side of 80’s Violent Femmes, and even the mid-60’s flair of the Beatles’ Rubber Soul. 

Kamai Music is excited to announce a long anticipated Ep from latin producer duo PAAX Tulum which will be available on Vinyl and digital. Based between Mexico and Spain, PAAX crafted a deep and dancefloor oriented Ep. The main title "All i Want" is a guitar driven organic track with a groovey Baseline.
The second track "Deep into the Mountain" comes with a more warm and welcoming clubby vibe, smooth arpeggios and a trippy soundscape. The third original called "Just wait" has a meditative character and is the perfect track to close the circle of the ep. Jacob Groening delivers a stripped down club oriented remix.

Bubblegum XX features features members of Queens of the Stone Age, PJ Harvey, Greg Dulli, Izzy and Duff from Guns & Roses/Velvet Revolver, among other assorted rock luminaries. When Bubblegum was released, Mark chose to let it speak for itself and didn"t have much to say aside from within the small handful of interviews he did at the time. In 2017, he released a book of lyrics and writings called I Am The Wolf and wrote about the album then. Shared here are some of his words about the record. Song favorites include "When Your Number Isn"t Up," and "Strange Religion," a love song I wrote in a Tokyo hotel room. While many of the songs came from a place of dejection and ennui at the end of a tempestuous relationship, "Bombed" in particular came about when, after I had written and recorded it in just a few minutes, I put a microphone in front of Wendy Rae Fowler, my soon-to-be-ex-wife, and had her sing along while simultaneously hearing it for the first time. I loved the result as it reminded me of Royal Trux, a band I liked. When I insisted on using the first and only take of the song, it made her slightly unhappy, but to be fair, that was just one of many things I did that had that effect.

Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.

With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.

Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.

"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.

Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.

With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.

Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.

"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.

American English is the second studio album by British new wave band Wax, which consisted of Andrew Gold and 10cc band member Graham Gouldman. The two got together after 10cc split up in 1983 and released a total of three studio albums, including the 1987 American English. The album grew into their most successful effort, largely due to the hit single “Bridge To Your Heart”, which charted in the top 10 in many European countries and remains their biggest hit to-date. The album spawned two more singles; “American English” and “In Some Other World”. The album’s front cover was designed by Storm Thorgerson, who is best known for closely working with Pink Floyd, in addition to Led Zeppelin, Black Sabbath, and Def Leppard among others. American English is available as a limited edition of 1500 individually numbered copies on pink & purple marbled vinyl and includes an insert.

After spending years out of print, The Prodigy have re-pressed their third album in time for its 20th anniversary.

Little Hag zeigt das breit gefächerte Songwriting von Avery Mandeville, deren bissige und nachvollziehbare Songs eine Welt beschreiben, die so kompliziert ist wie die, in der wir leben. Mit Hilfe von 8 Produzenten aufgenommen, in Wohnungen von Freunden bis zu den Headroom Studios in Philadelphia, liefert sie Punkrock-Knaller, tiefe Disco-Tauchgänge, Fackellieder, Folk-Balladen und vieles mehr. Die Bandmitglieder sind seit ihrer Teenagerzeit befreundet und haben sich gemeinsam zu einer wilden Rockband entwickelt.

"Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.

Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.

Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as ""pop,"" they released several EPs and singles before debuting their album, ""Mercurial World,"" in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as ""synth-pop.""

Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed ""world-building,"" is central to their artistry."

The wild greaser with an ever-broken heart, Cong Josie, is back! His eagerly anticipated sophomore album; Moto Zone, pulls up throbbing, revving, sweating and grinding hotter than bitumen on a summer day. It is a non-stop EBM’in’, synth-punkin’, rock ’n’ rollin’ and doo-woppin’ sizzler, in much the same vein as his 2021 debut Cong!. With this release however, Cong pushes his own M.O. even deeper. The throbs get bolder, the NRG goes harder, slow sleaze hip-grinding enters and the dream washes return to envelope all that hear them like a siren’s call. On Moto Zone, Cong conjures the age of rock ’n’ roll, a world of motorcycle gangs and hot rods, leather, chains, backcombing and hair pomade, with an Aussie twist on greaser ‘cool’. Confessional lyrics tell tales of addiction and mental illness tracing the scars of a troubled past. Cong says the “Moto Zone” reflects his daily life and mindset. A life of ADHD, burning the midnight oil, living on black coffee, obsessively creating and revving through every day. Ultimately Cong is reaching for bliss, feeling connection and a new world in these songs. Exhilarating? Anxious? Hedonistic? Dangerous? Beautiful? A lust for life? The record is all of the above.

The third album from beloved Nashville indie rockers The Medium, City Life is the first they’ve produced on their own. Recorded in their homes with the help of a few friends, this grassroots approach to recording captures them simultaneously at their most relaxed as well as their most airtight. Ironically, City Life presents the quartet sounding their most country yet – sonically embracing some of the musical territory of their hometown as well as lyrically wrestling with the challenges of its rapid changes. The band’s penchant for saccharine harmonies, hypnotic riffs, and earnest ballads cohere everything into a uniquely relevant take on a classic 70’s rock sound. The record envisions ‘city life’ as a call for a better world – a society driven by care over productivity; by community over profiteering.

The new album is ready and it’s the best! Cornell says “This is more than an album to me…. It is an up close and personal expression of the many things that move me in life and how I feel about life, love and all the things I value most. The love that went into making this album is without question a collaboration of great musicians and producers who put their Souls into it. No matter what your mood is, there is a song on this album that will relate to all of the different emotions we experience Every Day!”
The first single from this album was “The Change”, released earlier in the year ahead of the massive new song “Everyday”. The album is coming 26th July on CD and will be followed up with a vinyl release (of selected tracks) 23rd August.
Cornell is from Berkeley, California and raised in San Francisco where his debut album “Vindicated Soul” was released in 2017. Since then he has taken the soul scene by storm through further prolific albums “One Love”, “Absolutely” and “Next Life”. Earlier in his career he recorded with The Isley Brothers and performed on stage with James Brown. Cornell performs songs from the album for the first time at The Sussex Soul Weekender Friday 2nd August.

This album marks a significant evolution for Dream Division, evolving from a solo project into a full band experience. Blending the rich sounds of Italian soundtracks with psychedelic rock, Tom McDowell, the band's core member and founder of Library of the Occult Records, has assembled an all-star lineup for this collaborative record. Featuring members of The Hologram People, Garden Gate, The Psychic Circle, Miles Brown and Men From S.P.E.C.T.R.E., the album navigates through genres while maintaining a cinematic essence. From the sinister melancholy tones of 'Black Rose' to the Giorgio Moroder-esque Giallo disco of 'Technicolor Terror,' ‘A Rose in the Garden of Winter’ unfolds like a lost soundtrack to a classic '70s Giallo film.

A late period hard-rock, proto-punk entry in Zambian guitarist and bandleader Paul Ngozi’s extensive catalog. Featuring drummer Chrissy Zebby Tembo. LP includes oversized 8 page booklet detailing Ngozi’s arc, rare photographs, discography and annotations. Released under license from the Estate of Paul Nyirongo. “Zambia's Zamrock movement that exploded in the 1970s ... provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats.... enlivening a scene that included bands like Musi O Tunya, Amanaz and the Ngozi Family.” - The New York Times Zamrock was a bona-fide rock scene, with albums released through independent labels based in Zambia. This music scene was complete, encompassing the genres of rock, acid folk, fusion, Afro-beat, South African jazz and traditional Zambian melodies. It quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent or elsewhere.

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

Zero One Zero is a no nonsense American Hard Rock Band. There comes a time when enough is enough and you want to take your music back! Rock music has turned into a bland cookie cutter version of its former self. Zero One Zero is going against the norm and providing a valuable service. Delivering a kick ass, grade A, American made product! No phony over produced, auto tuned garbage. This is Retro-Aggressive Hard Rock for the people! The Band is Rob ‘Boots‘ Zawisza – Vocals, James Ferrentino – Guitars, Mark Ahles – Drums, Marc Russell – Bass. The band’s latest release Traces Of Yesterday was produced by Grammy Award winner Paul Nelson (Johnny Winter). As the band explains, “We were approached by Paul in December of 2020 as he wanted to produce a record with us. After hearing our second studio album Full On. We were honoured to have a Grammy Award-winning Producer and talented musician find interest in us. We all met at his studio, The Music Room in February of 2021 and worked out the details of what would become our third studio album, Traces Of Yesterday.” Unfortunately, Paul passed away suddenly in March of 2024 but not without leaving his mark on Traces Of Yesterday. With standout tracks like the first single “You Knock Me Out” and follow up “I Am Calling”. Zero One Zero is now about to take their spot in Hard Rock as a force to be reckoned with.

Pinwheel Dewdrop / Blue Vinyl, limited to 200 copies. BANE's legendary album "Don't Wait Up" is getting the deluxe treatment from End Hits Records for its 10th anniversary! Released in the spring of 2014 as End Hits No. 10, it marked the beginning of the end for the iconic hardcore band. Initially, the band intended to record a final 7" to support a two-year-long farewell tour around the globe. However, they were eventually convinced by the label to record and release a full album instead. Upon release, "Don't Wait Up" was an instant success among supporters and critics alike. BANE embarked on a successful final tour and then called it quits. "Don't Wait Up" became a holy grail for vinyl collectors in the meantime. But the stars aligned, and much to the delight of hardcore enthusiasts around the world, the band came back together to tour again. To celebrate this landmark release and the return of BANE as a live band, End Hits Records is releasing an extraordinarily packed re-release of this classic album. The packaging features a deluxe gatefold sleeve with die cuts and is enhanced with layers of glow-in-the-dark lacquer. The ultra-limited anniversary reissue is available now from End Hits Records.

Double LP set capturing some of Causa Sui's heaviest, most psychedelic tunes recorded live at Loppen - a legendary Copenhagen venue, located in the famous - and infamous - Freetown Christiania commune. This is the sound of Causa Sui at their home turf, stretching out and exploring eight epic fan-favourites from their entire catalogue in front of a small crowd of 400 people in a packed sold-out venue. The show was recorded the first week that Covid restrictions were lifted on venues in Denmark, which called for an especially buzzing night, even for a band that has exclusively played no more than a handful of shows each year since their 2005 debut. Each Causa Sui show is unique. Here we're offered a different perspective of the band's music - it's looser, more free-flowing, and some tracks are warped into something far from their original versions, bouncing off the wooden beams on the low ceiling of Loppen with renewed energy. At one point you can hear the band calling to take a breather and let some air inside the sauna-like temperature of the show, which just weeks before seemed impossible. Loppen 2021 offers a complete set from start to finish, so since chances that you'll catch the band live in person are slim, this is the next best thing. Mixed and mastered by Jonas Munk. Edition of 1000 copies on coloured ecomix vinyl.

After the first casual meeting at Lessinia Psych Fest 2014 (Maxigross festival in the Lessini Mountains) Miles managed to come back in Italy during spring 2015 to work with the band. In march 2015 they went together in the studio house of the band in the small mountain village of Vaggimal (Verona) to improvise and record one month straight, interrupting the sessions only for a few shows between Verona and Roma. They put few microphones around a big room in the house to catch the general sound in a Daniel Lanois’s style, and they played in the dark of the night without any light to forget the individual sound of each member, focusing only on the main sound of the Music. Miles brought from LA some recordings he made with drummer Joe Westerlund (Megafaun, Califone…) and, starting from that material, they begin to play on that. After these magical musical encounter they became close friends, sharing an house in Verona (Casa Tega), many albums, shows and life experiences, forgetting about these Vaggimal Sessions, that bring inside of itself the magic and the purity of any first meeting. These naked recordings are the only witness of this session.

Der malische Sänger und Songwriter Salif Keita, auch bekannt als die “Goldene Stimme Afrikas”, etablierte
sich Anfang der 1990er Jahre als einer der ersten großen Stars der sogenannten Weltmusik. Seine musikalische Entwicklung wurde 2011 auf der Compilation “Anthology” in elf traumhaften Songs nachgezeichnet:
von den Aufnahmen, die er 1978 (noch als Mitglied der Band Les Ambassadeurs Internationaux) für die
Platte “Mandjou” gemacht hatte bis hin zum Album “La Différence” von 2009, das in Frankreich als Weltmusikalbum des Jahres mit dem “Victoires de la Musique” ausgezeichnet wurde. Zu Keitas 75. Geburtstag
am 25. August erscheint ”Anthology” nun zum allerersten Mal als Doppel-Vinyl

Numero's Hottest Sounds Around trio gathers castaway late-'70s grooves from across the Greater Antilles. Stan Chaman's Trinidadian Semp concern delivered Wilfred Luckie's wobbly "My Thing" and the Hamilton Brothers' calypso-disco smash "Music Makes The World Go `Round" in 1978. Across the sea, Frank Penn's G.B.I studio tracked Stephen Colebrook's Doobies-inspired "Stay Away From Music" for the cruise ship curious. All three are housed in a custom Numero sleeve inspired by Edward Seaga's Caribbean music manufacturing and distribution powerhouse WIRL (West Indies Records Ltd.)

GARDENIA is an existing land located at the Limpopo province of South Africa, right at the border with Botswana. The place's real name is Mmabolela and it's a private nature reserve covering 6500ha of subtropical savanna and part of Limpopo River.

In November 2019 I had a chance to visit the location and participate in an annual residency for composers and sound artists called 'Sonic Mmabolela', initiated and curated by Francisco López.

We lived in an isolated property in the middle of savanna having a unique opportunity to exist in undisturbed touch with the African wilderness.

For the past decade or so, Polish musician Michal Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe's long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation.

All the natural sounds later used to create Gardenia were captured there — during longtime recording sessions over the virgin interior of Mmabolela Reserve.


The album's field recording content was selected from several hours of birdsong, calls of frogs, insect noises, sounds of trees, bushes, grass as well as non-living natural elements like stones or shells.

These field recordings were later digitally processed and used as part of 9 musical arrangements.

However the recording sources and the location of Gardenia is defined, it was not my intention to document a South African natural soundscape nor create any other kind of strict concept album.

All I do in my work is an affirmation of beauty hidden in various aspects of the Creation. MJ

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

Simple Reality cements the short lived legacy of Coventry DIY group Skeet.

Emerging from a scene of first-generation punks and 2 Tone kids, Skeet was instigated by Gary and Nigel Meffen in 1981, fusing tightrope instrumentals with a Roland CR-8000 under the glow of projected visuals. After a cassette of their debut performance found its way to Kay Booth who worked at Inferno Records, the unsuspecting frontwoman took the liberty of adding her own vocals. Instantly embraced as a permanent member, Booth’s shy delivery and open-diary expressions of social alienation and romantic rejection hovered over the brothers’ scratchy guitar and agitated bass.

Playing as few as 10 shows, their unnerving minimalism was recorded in a suburban home studio, borrowing a reel-to-reel from Toby Lyons (The Colourfield) and a mixer from Jerry Dammers (The Specials). Record labels gestured interest until one day they were no more - no arguments, no official split, just a silent parting of the ways and three people taking journeys in different directions. Unheard and unloved in the vaults for nearly four decades, 'Brief Call' finally resurfaced via the Coventry Music Museum compendium Alternative Sounds Volume 1, followed by a micro pressing of the full suite on Chris Long’s Almost Unknown imprint in 2023.

Simple Reality now offers a definitive snapshot of these must-hear neurotic post-punks. Mastered by Skeet fanatic Mikey Young, newly discovered instrumental multitracks are restored alongside a live recording of their final stand. Performed atop of a trailer in a pub beer garden, the release-worthy desk tape adds three new tracks and a more energised swing at ‘Left On the Shelf’s apathetic techno-pop.

RIYL: Fire Engines, 23 Skidoo, A Certain Ratio, Young Marble Giants, pel mel

Die atemberaubend schöne, aber auch manchmal etwas deprimierend miefige Idylle des schönen Bodensees ist die Kulisse für das kommende Sommerloch-Album von Schmutzki. In ihrer alten Heimat haben die drei Punkrocker aus Stuttgart 13 herz- und hirnerweichende Anekdoten aus dem mockenden Schlamm des ,Schwäbischen Meers" gezogen. Mal heiter, mal nachdenklich werden hier so einige Wurzeln ausgegraben, die man längst abgestorben glaubte. Doch als Kind vom See kannst du soweit wegrennen wie du willst, irgendwann holt er dich ein und es heißt: Bodensee Calling!

Die New Yorker Pop-Experten Charly Bliss möchten, dass ihre neue LP Dich unter der Last purer Gefühle erdrückt. Sie wollen Dich in einen Herzschmerz-Hurrikan stürzen. Sie möchten, dass Du beim Mitsingen bei ihren Gigs und allein in Deinem Schlafzimmer Deine Seele ausschüttest. Kurz gesagt, so Sängerin Eva Hendricks, wollen sie Dich zerstören … aber auf eine unterhaltsame Art und Weise. Co-produziert von Jake Luppen (Hippo Campus) und Caleb Wright (Samia) ist "Forever" Charly Bliss' bisher grösste und hellste Power-Pop-Charge. Voller klanglich dichter, emotional aufgeladener Songs, die die Lustzentren in Deinem Gehirn aktivieren, egal ob allein per Kopfhörer oder bei einer überfüllten Liveshow. Die Songs schimmern und explodieren wie ein Feuerwerk.
LP auf Transparent Clear Vinyl im Gatefold samt Lyrics-Einlage

Die New Yorker Pop-Experten Charly Bliss möchten, dass ihre neue LP Dich unter der Last purer Gefühle erdrückt. Sie wollen Dich in einen Herzschmerz-Hurrikan stürzen. Sie möchten, dass Du beim Mitsingen bei ihren Gigs und allein in Deinem Schlafzimmer Deine Seele ausschüttest. Kurz gesagt, so Sängerin Eva Hendricks, wollen sie Dich zerstören … aber auf eine unterhaltsame Art und Weise. Co-produziert von Jake Luppen (Hippo Campus) und Caleb Wright (Samia) ist "Forever" Charly Bliss' bisher grösste und hellste Power-Pop-Charge. Voller klanglich dichter, emotional aufgeladener Songs, die die Lustzentren in Deinem Gehirn aktivieren, egal ob allein per Kopfhörer oder bei einer überfüllten Liveshow. Die Songs schimmern und explodieren wie ein Feuerwerk.
LP auf Transparent Clear Vinyl im Gatefold samt Lyrics-Einlage

Beabadoobee announces her third studio album This Is How Tomorrow Moves, out Friday 16th August via her long standing label Dirty Hit. This Is How Tomorrow Moves finds Beabadoobee stepping up to a new level in her abilities as a songwriter, crafting arresting melodies and pushing herself to develop and explore new frontiers of vulnerability, both in her storytelling and her relationship with herself.

Produced by legendary producer Rick Rubin and long term collaborator and bandmate Jacob Bugden, Beabadoobee swaps her bedroom for his infamous Shangri-La studio in Malibu to create a deeply self-assured record with a vast sonic scope of rock and pop.

Yours Truly melden sich mit der Ankündigung ihres zweiten Albums TOXIC zurück.
Die neue Single 'SOUR' ist der Nachfolger von "Call My Name", das im Januar 2024 veröffentlicht wurde und beim australischen Radiosender Triple J
in die Rotation aufgenommen wurde und dort den Spitzenplatz als meistgespielter Track des Senders erreichte.
TOXIC ist der Nachfolger des 2019 erschienenen Debütalbums Self Care der Band aus Sydney, das auf Platz 19 der ARIA-Album-Charts landete und bei
den ARIA Awards 2021 als "Best Hard Rock/Heavy Metal Album" nominiert war. Die Band wird im August auf dem britischen Reading + Leeds Festival
auftreten.

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

Salétile return to the Keroxen tenfold with their second long play of 60’s inspired psychedelia and neo shoegaze tunes.

With its members hailing from a particular area of northern Tenerife with its ever present “panza de burro” —a layer of insistent low clouds overcasting the region—, the tone and feel of Salétile’s music had to be naturally clouded and sombre. A periphery sound from the periphery then, a local approach of a popular sound with a calm and serene atti-tude.

While their first album, Humanoides del abismo (Humanoids of the Abyss), evoked an underwater journey, for their second outing Salétile emerge swiftly into the surface to continue their peculiar sound explorations of their precious surroundings, adding different layers of pressurisation.

A more pronounced melodic intention is present but without abandoning the care for textures and atmospheres that defined their debut, as well as the use of contemporary techniques such as looping and real-time processing, encom-passing influences as diverse and timeless as classical music, 1950s R&B, 1960s pop, hip-hop, dub, 1990s English shoegaze, concrete music, slowcore or math rock.
A loopy pot of sources from a hermetic band that is not afraid of pushing their many influences to the foreground. Emerge!
Salétile are Daniel García, Elsa Mateu and Ruymán García
Mastered by Daniel García
Artwork by Gustavo García

Vinyl pressed in Spain

Ray LaMontagne - der gefeierte, mit einem Grammy ausgezeichnete Singer-Songwriter - hat mit seinem neuen Studioalbum Long Way Home das nächste Kapitel seiner Karriere aufgeschlagen.

Long Way Home wurde von Ray LaMontagne in seinem Heimstudio aufgenommen und produziert und ist der Nachfolger des von der Kritik hochgelobten Albums Monovision aus dem Jahr 2020.

LaMontagne hat die letzten zwei Jahrzehnte damit verbracht, sich einen einzigartigen Platz in der modernen Musik zu schaffen. In einer Karriere, die von der Kritik mit überschwänglichem Beifall bedacht wurde, hat er sich aus dem Rampenlicht und der damit verbundenen Berühmtheit in die abgelegenen Hügel von West-Massachusetts zurückgezogen. Die New York Times schreibt: "Ein Besuch bei Ray LaMontagne ist wie eine Reise in ein anderes Jahrhundert". Seine unverwechselbare Stimme, die der Rolling Stone als " makellos verwitterte Tenorstimme" beschrieb, dient nach wie vor als Quelle für Melodien und Songwriting, die die Ära bestimmen. Auf seinen acht Studioalben hat LaMontagne seine Songs und seine Geschichte für
sich selbst sprechen lassen und damit eine tiefe Saite im amerikanischen Unterbewusstsein zum Klingen gebracht. Wie in seiner umfangreichen und preisgekrönten Diskografie nicht anders zu erwarten, liefert LaMontagne auch auf seinem neunten Album wieder eine beeindruckende Leistung ab.

Fourth Drawer Down is a compilation album by the Scottish post-punk and new wave band the Associates, released in October 1981. It compiles the A- and B-sides from the six singles the band released that year. The songs that appeared on Fourth Drawer Down had a notably darker and more experimental edge than their debut studio album The Affectionate Punch. The album was well received by music critics, with reviewers commenting on the band's increased experimentalism. Alastair McKay of Uncut called Fourth Drawer Down ""an extraordinary document on which the sense of mystery deepens, and the commitment to sonic experiment becomes more pronounced."" Fourth Drawer Down is available as a limited edition of 750 individually numbered copies on translucent blue coloured vinyl and is housed in a gatefold sleeve.